FCP has nothing on Vegas 9?

[Roberto Lequeux]

That is what I meant. I guess I wasn't too clear.

[Jose Alvarez]

BTW, on the Vegas vs FCP topic... Every single Pro Video Editing Tool out there (software or Hardware) uses the Preview/Program metaphor used by professional editors for decades. So it seems that no matter how good the software is, if the editor has to changed his whole style of editing, or "workflow" if you will, the software will never gain the "Pro" market acceptance needed for the software to grow and prosper.

Without any disrespect intended (I have tried Vegas), the only reason it is still around is because of what its price point has been since its introduction.

I have edited several indi feature films in both Media Composer and FCP, and I just can't see myself finishing those projects in Vegas. Like it or not, Avid MC is till king of the hill, with FCP following very close behind. And every editor I know can go back and forth relatively easy between MC and FCP. The same can not be said about Vegas, and to a post house (or any broadcasting/production company) this is very important.

[Roberto Lequeux]

I can see the double window as a very good point. I have not edited in either Avid or FC enough to get used to it to a point where I miss it. I like the added real estate, but I can see how it may work with a third monitor for full screen preview where your windows on the NLE are just smaller reference previews... I would have to try it out. Still I can't say that I would switch to FC for just that feature. If I do switch it would have to be for something much more imperative, like speed.

[Peter Moretti]

But Vegas has one other advantage we're neglecting to emphasize. It can work in RGB space and render uncompressed (or compressed if you have proper codec registered on your computer) to 4:4:4. Avid Media Composer can't do this.

For working with Red, this can make Vegas very valuable. I guess it depends on if you want to finish yourself with Vegas or go to a professional house.

But even if you couldn't complete the finish yourself, why not just bring the pros a file from Vegas and say "Do what you need to do."? You don't even need an EDL or source tapes if everything you did in Vegas is rendered at 32-bit floating point and saved as 4:4:4. Why not just have the finishers work off the grade from Vegas?

[jake blackstone]

4. This one is a straight up question: Would there be a way to bring an EDL with color decisions to a post house without having to render an uncompressed RGB? To somehow keep it as .r3d's... am EDL + CDL...
[/QUOTE]
Although the idea of CDL working in conjunction with the EDL is very compelling, unfortunately reality isn't so straightforward. CDL had been heavily promoted by a number of producers of color grading solutions, Gamma and Density being the most vocal one. For example, their 3cP system had been used on an "Iron Man", among other productions, for the final grade at E-films. In reality, CDL is implemented quite poorly and every manufacturer interprets the CDL data differently, which frankly defeats it's purpose. Presently only DaVinci can correctly interpret 3cP's CDL data. So I wouldn't count on CDL working any time soon...